Episode 201 The Fall
by virtualdoe
Summary: Directly following the events of the last episode of John Doe Season 1.


> John Doe  
  
THE TRUTH WILL BE REVEALED......  
  
Virtual Season Episode #201. "The Fall"   
  
TEASER  
  
BLACK.  
  
JOHN DOE (V.O.)  
Last season on John Doe.  
  
There follows a one minute recap of events from "Remote   
Control" and "The Rising", ending with Doe on the ground   
with Theresa clutching his jacket. Doe looking up into the   
light.  
  
FADE TO BLACK:   
  
JOHN DOE (V.O.) (CONT'D)  
"Keep your friends close, but your   
enemies closer". Most people would   
say this proverb originated in a   
gangster movie. But it actually has   
its roots in Ancient Western   
Literature. From Sophocles to   
Shakespeare, we experience man's   
nature of betrayal. Betrayal   
against his brother, betrayal   
against his friend.  
  
FADE IN:  
  
EXT. FOREST - DAY  
  
We are quickly moving through the woods. The sounds of   
sirens can be heard in the distance. Two pairs of feet are   
seen moving about. The sound of a helicopter is near, but   
not yet upon them.  
  
JOHN DOE (V.O.)  
In literature, to be betrayed, is to   
feel everything around you   
disappear. One minute you're upon   
the climax that may answer some if   
not all of your questions. The   
next, you fall. You feel completely   
deflated, and a true enemy has   
revealed his face.  
  
And now we see the two figures emerge from the brush onto a   
clearing, it is none other than Trenchcoat man and Digger.   
They look winded but focused in their efforts. After   
examining their surroundings, they both notice the road up   
ahead and proceed towards it.  
  
JOHN DOE (V.O.) (CONT'D)  
The face of my true enemy had been   
revealed. He promised to stand by   
me no matter what, but he was always   
there. I know that now.  
  
CUT TO:  
  
EXT. HIGHWAY - DAY  
  
The two figures make it to the highway, just as they step   
out to the side of the road they hear a car approaching.   
Its a police cruiser coming around the bend towards them.   
Trenchcoat looks to his companion as if awaiting   
instructions. Digger tells him to stand by, just by   
looking at him.  
  
JOHN DOE (V.O.)  
He pretended to be my friend, when I   
needed one the most. He always   
seemed to know what to say or do at   
the right moment.  
  
The cruiser stops a few meters from the pair. Who are   
standing by the road facing the lone police officer at the   
wheel. The door opens and out steps the officer with   
weapon drawn. The officer is pointing at the two men,   
shouting instructions, but Trenchcoat and Digger just stare   
straight at the officers face.  
  
JOHN DOE (V.O.) (CONT'D)  
Little did I know of his true   
intentions. Or How far he would go   
to get what he wanted most.....  
  
CLOSE ON - THE OFFICER  
  
His hands, grasping his weapon begin to shake. Then his   
face becomes emotionless all of a sudden.  
  
WIDER  
  
Trenchcoat casually walks by the stunned officer and gets   
in the drivers side of the cruiser. The officer is just   
staring at Digger who is now face to face with the officer.   
Digger without effort takes the weapon from the officer's   
hand and stares with a cold face at the officer. Digger   
raises the weapon and points it at the officers fore head.  
  
JOHN DOE (V.O.) (CONT'D)  
......MY TRUST.  
  
CUT TO:   
  
EXT. FOREST LANDSCAPE - DAY  
  
A loud gunshot is heard echoing in the distance.  
  
FADE OUT.  
  
ACT ONE  
  
FADE IN:  
  
EXT. COPPER MINE FACILITY - DAY  
  
Federal and Police vehicles are scattered all around the   
entrance to the facility, pursuit lights flaring. Officers   
and tactical agents are moving to and fro. Two helicopters   
can be seen searching in the distance. We move through the   
crowd onto the sight of an ambulance with its back doors   
open, stretcher has already been removed from the cab.  
  
We pan around to the group parting ways as we see a pair of   
medics guiding a stretcher through the commotion . In the   
stretcher we see a woman, disoriented and agitated. It's   
Theresa, she cannot keep still, John Doe is walking beside   
her, his hands holding hers. Doe is trying to calm her   
down. Frank Hayes and Lt. Jamie Avery follow them,   
heading towards the ambulance.  
  
THERESA  
Tommy....,Tommy!!  
(loudly)  
  
JOHN DOE  
I'm right here....I'm here.  
(still holding her   
hands)  
  
MEDIC #1  
Ok, here we go.  
(lifting the   
stretcher onto the   
cab of the   
ambulance)  
  
Doe lets go of Theresa's hand as she is pushed into the   
ambulance. She becomes even more agitated and calls out to   
Doe even louder than before. Doe stands by the ambulance   
as the medics prep her for the trip. He seems emotionally   
drained but at the same time apprehensive at the thought of   
letting Theresa out of his sight. Frank and Avery join   
him.  
  
JOHN DOE  
I'm going with her.  
  
AVERY  
You go on. We'll let you know what   
we find.  
  
FRANK  
Yeah, I think it'll be best for both   
of you.  
  
Doe hardly acknowledges as he immediately jumps into the   
cab of the ambulance. The second medic closes the doors   
while Doe and the first medic tend to Theresa inside. The   
ambulance begins to drive away leaving Frank and Avery   
watching.  
  
EXT. MINE FACILITY ENTRANCE - DAY  
  
Sam from the NSA steps out from the facility entrance.   
Behind him a tight group of suspects is led out by NSA   
agents. Sam is holding documents in hand. Examining each   
carefully. The suspects, all young men in their mid 20's   
early 30's are handcuffed and each is led to a prisoner   
bus. Frank and Avery walk up to Sam.  
  
SAM  
(leafing through   
papers)  
Unbelievable...this people are   
completely anonymous.  
  
FRANK  
(sarcastically)  
What? No top secret documents?  
  
SAM  
Nothing. No names, no passwords, no   
logs. Nothing remotely pointing to   
some type of identification.  
  
AVERY  
Then what the hell were they doing   
here in the middle of nowhere?  
  
SAM  
All we could identify are   
surveillance pictures of John and   
some strange drawings.  
  
FRANK  
And Stocking Cap?  
  
SAM  
I got helicopters doing an aerial   
search. With local P.D. holding   
checkpoints over a 30 mile radius.   
So far, nothing from him or   
Trenchcoat Man.  
  
AVERY  
John said he saw him sneak out the   
back. We got there right after.   
How far could he have gone?  
  
SAM  
(looking around)  
Hey! Where's John?  
  
FRANK  
He went with Theresa to the   
Hospital.  
  
SAM  
(to Frank)  
And you let him leave?...He's a   
material witness.  
  
FRANK  
(not believing his   
ears)  
Hey! I think the man's been through   
enough for one day...and for your   
information...Doe is the only reason   
we came along in the first place.  
  
AVERY  
(to Sam)  
You seem to forget... We're not   
part of you're operation...and   
besides, I think you have plenty of   
witnesses.  
(gesturing to the   
prisoners)  
  
SAM  
(annoyed)  
I haven't time for this...I got a   
man hunt on my hands.  
  
Sam walks away from the pair. Frank and Avery stand there   
exchanging looks and somewhat satisfied at the exchange of   
words. Then their mood turns serious as they see Michael's   
body under a coroner's blanket, being wheeled out of the   
mine facility. Frank and Avery just stare as the body goes   
by.  
  
INT. PRISONER'S BUS - DAY  
  
The dozen or so young men who are handcuffed inside the bus   
stare ahead with cold faces as the last tactical agent   
locks the inside gate of the bus. The agent heads out and   
speaks briefly with Sam, who is reviewing his instructions   
for their transport to a government facility.  
  
At that same time, one of the young prisoners sitting in   
one of the front seats turns his head towards the agents   
outside. Then he exchanges an emotionless glance at his   
companion, who motions his head towards the rest of the   
prisoners behind them.  
  
They all acknowledge in unison and each proceeds to reach   
into his mouth and with little effort remove one of his   
teeth. Each splits open the tooth he holds in his hand,   
revealing a small tiny capsule concealed within the tooth   
itself. Then without any anticipation or doubt, they all   
place the capsules in their mouth. Still looking ahead,   
still cold faced, without anything more than a whisper.  
  
CUT TO:  
  
EXT. HIGHWAY - DAY  
  
We see an ambulance driving down the road, lights and   
sirens blaring.  
  
INT. AMBULANCE - DAY  
  
Theresa is strapped to the bed of the ambulance, she is   
still struggling while the medic checks her vital signs.   
Rambling at times, Theresa is clearly under some type of   
induced state, all she can due is call out Doe's alias. As   
if she is lost in a void. Doe looks on, concerned and   
frustrated by the situation.  
  
THERESA  
Help...help me....Tommy!!!  
  
Doe moves closer so she can see him better.  
  
JOHN DOE  
(touching her hand)  
Theresa, tell me what you see. Do   
you know what they gave you.  
  
THERESA  
(sobbing and   
panting)  
Please.....Please!!! No!  
  
As Theresa goes on, the medic is relaying her vitals to the   
awaiting Emergency Care center by radio.  
  
MEDIC #1  
(to the radio)  
I have a female Caucasian, late 20's   
early 30's. B/P 250 over 90.   
Puncture wounds to both arms.  
  
Doe caresses Theresa's hand and makes her focus on his   
face.  
  
JOHN DOE  
Look at me...I'm right here. It's   
over...your safe now.  
  
Theresa is now looking at Doe intently. (Close on Theresa)  
  
THERESA  
(heavy panting)  
They were looking....they were   
looking.... I saw you...... I could   
see you....  
  
CLOSE ON - Doe   
  
JOHN DOE  
Yes, I saw you too. I found you.  
  
CLOSE ON - Theresa   
  
Theresa smiles slightly, before her eyes   
suddenly roll back and shakes uncontrollably.   
  
JOHN DOE (CONT'D)  
No!...No, no, no.  
  
The medic notices immediately and proceeds to prepare some   
type of injection.  
  
JOHN DOE (CONT'D)  
(yelling to the   
medic)  
She's going to anaphylactic shock!!   
I need a praline shot to counter it.  
  
MEDIC #1  
You don't know that.  
  
The medic begins to give Theresa an injection. Doe grabs   
him by his jacket.  
  
JOHN DOE  
(agitated)  
If you give her sodium trihedral its   
going to induce sleep. She might go   
into a comma or die. We need to   
keep her awake and induce her immune   
system long enough to reach the   
hospital.  
  
MEDIC #1  
Sir! Her blood pressure is too   
high. Praline could give her a   
heart attack....  
  
Theresa is still shaking mildly.   
  
JOHN DOE  
(even more   
agitated)  
SHE'LL DIE!!...Please you don't know   
what she's been subjected to the   
last few weeks...Now we need to keep   
her conscious...  
  
MEDIC #1  
(looking at   
Theresa)  
Sir, Please....  
  
JOHN DOE  
DO IT!...NOW.  
  
The medic thinks on it for about two seconds, then finally   
budges and prepares a praline injection. Doe sees this and   
rushes back to Theresa's side. She is still shaking but   
the medic is right there and applies the shot. Almost   
immediately, Theresa stops shaking and begins to moan   
slightly. Doe and the medic look at each other with   
feelings of expectancy.  
  
CUT TO:  
  
INT. EMERGENCY ROOM - DAY  
  
Emergency double doors open and we see Theresa being   
wheeled into the Hospital in a hurry. Both medics are   
pushing the stretcher in while Doe is hurrying along side,   
making sure Theresa is still conscious. Two emergency room   
doctors, one male (30's) and one female (20's), approach   
the new arrival ready to work.  
  
MALE DOCTOR  
(to medic #1)  
Is she stable?  
  
JOHN DOE  
Her Blood pressure is 250 over 90,   
she went into anaphylactic shock,   
she's conscious but we have to know   
what they gave her. You need to do   
level 4 blood work on her right   
away.  
  
MALE DOCTOR  
Sir! Please, let us do our job.  
  
JOHN DOE  
(in the male   
doctor's face)  
She's been awake for days, she's   
probably on an amphetamine   
derivative or hypocotyl solution.  
  
MALE DOCTOR  
We'll take good care of her...Now   
please wait here and someone will be   
with you.  
  
JOHN DOE  
Please listen.....   
  
FEMALE DOCTOR  
(holding Doe back)  
Sir, we'll do a full blood work on   
her. Please we know what we're   
doing. She's in good hands.   
  
Doe stands back and watches as Theresa disappears behind   
another set of doors. We hold on Doe as he stands still   
and helpless in the middle of the emergency room.  
  
CUT TO:  
  
EXT. COPPER MINE FACILITY - LATE AFTERNOON  
  
We pan down to the facility grounds. A group of law   
enforcement personnel are gathered around the prisoner bus   
we saw earlier.  
  
INT. PRISONER'S BUS - LATE AFTERNOON  
  
One federal agent stands at the front of the bus, with a   
look of complete disbelief. We see Sam enter the bus   
behind him.  
  
AGENT  
(to Sam)  
They're all dead sir.  
  
The agent hands Sam a piece of a plastic tooth. Sam takes   
it and examines it closely.  
  
SAM  
Perfect fail safe....All right, I   
want to know who this people are. I   
want each body thoroughly examined   
and identified.  
  
The agent exits the bus immediately. Sam stares at the   
bodies for a few seconds.  
  
SAM (CONT'D)  
(in a low voice)  
Who the hell were you protecting?  
  
CUT TO:  
  
INT. HOSPITAL WAITING ROOM - NIGHT  
  
We see Doe sitting alone in this waiting room. He sits   
staring down at something he is holding in his hands.  
  
JOHN DOE (B/W POV)  
  
---his hands handling the cap he found afteer he rescued   
Theresa from her captor.  
  
---Digger's face staring down at him from tthe the mine   
emergency exit.  
  
---Digger shaking hands with Doe after makiing his promise   
to John.  
  
CLOSE ON - Doe  
  
A grim far away look on his face.  
  
INT. HOSPITAL WAITING ROOM - NIGHT  
  
Frank and Lt. Avery walk into the waiting room, they both   
notice Doe in the corner and walk towards him.  
  
LT. AVERY  
John?  
  
Doe casually folds the cap and sneaks it inside his jacket   
pocket. He stands up to greet his friends.  
  
FRANK  
(to Doe)  
How she doing?  
  
JOHN DOE  
(with a sigh)  
Don't know. She's been in there for   
hours. They won't let me see her.  
  
Frank and Avery stand in front of Doe, as if not knowing   
what to say next.  
  
JOHN DOE (CONT'D)  
Any news?.  
  
Frank and Avery give each other an embarrassing look.  
  
FRANK  
A state patrol officer was found   
dead by the side of a mountain road   
five miles from the copper mine.   
His patrol car was found two hours   
later at a rest stop, forty two   
miles north on I-95 .  
  
Doe wipes his eyebrow with this right hand and slowly walks   
away from Avery and Frank towards a nearby window.   
Disappointed by the news but not really surprised.  
  
JOHN DOE  
(looking out into   
the night)  
They're not going to find them.   
This people know how to be ghosts.   
Sam is not going to learn anything   
from those men either.  
  
Frank clears his throat, not sure how to break the next bit   
of news to Doe. Lt. Avery steps in. Doe turns around,   
waiting to hear what came next.  
  
LT. AVERY  
The men arrested in the mine   
committed suicide while awaiting   
transport. They.....had some sort   
of poison ingested. The NSA are   
investigating the why and how.  
  
Doe forces a sarcastic smirk. He looks worn out, like he   
hasn't slept for months. He walks over to one of the   
couches, and sits with both hands wiping his weary face.   
Frank walks over and tries to ease Doe's duress.  
  
FRANK  
(with a low voice)  
Hey listen,.... We had Michael's   
body turned over to the coroner's   
office. We figured, it was the   
least we could do.  
  
Doe looks up at Frank, with Lt. Avery standing near. He   
forces a smile to his friends.  
  
JOHN DOE  
Thanks.....  
  
At that moment, the female doctor that spoke to Doe before   
comes into the waiting room. She's holding a work pad.   
Doe immediately springs to life and meets her half way with   
Frank and Lt. Avery behind.  
  
JOHN DOE (CONT'D)  
(with a terrified   
look on his face)  
How is she?... Is she all right? Is   
she stable?!!  
  
FEMALE DOCTOR  
(in a calming tone)  
She's fine. We did a full blood   
work on her and managed to lower her   
blood pressure. We were uncertain   
at one point but I think she's out   
of danger now.  
  
JOHN DOE  
(hugging the doctor   
out of sheer   
relief)  
OH!! Thank you!!! Thanks doctor.  
  
The female doctor is taken a bit by surprise but is   
understandably receptive to Doe's outburst.  
  
FEMALE DOCTOR  
(flipping through   
her work pad)  
Now, she is stable but under   
observation, because I have to say, we   
had the hardest time pin pointing   
what exactly she was under. As far   
as we could tell, it was like you   
said, some type of amphetamine   
derivative.  
  
Frank and Lt. Avery give each other a concerned look. Doe   
doesn't take his focus of the doctor.  
  
JOHN DOE  
What else did you find?  
  
FEMALE DOCTOR  
(with a exhausting   
breath)  
Extreme sleep depravation, ligature   
marks on her wrists and ankles.   
Numerous puncture wounds around her   
neck and arms....whoever did this,   
really did a job on her. I hope you   
find the creep.  
  
The female doctor is paged as she is finishing her   
diagnosis.  
  
FEMALE DOCTOR (CONT'D)  
(looking at her   
pager)  
I'm needed inside... Your   
girlfriend is going to be with us   
for few days. We need to run some   
tests and keep her under   
observation.  
  
JOHN DOE  
(a bit embarrassed)  
She's a friend.....Can I see her?  
  
FEMALE DOCTOR  
She's needs a lot of rest. We have   
her in intensive care. Someone will   
come get you when she's transferred.  
  
JOHN DOE  
Thanks again, doctor.  
  
FEMALE DOCTOR  
You should give yourself some of the   
credit. That praline shot may have   
saved her life. The paramedics   
would never have given her one in   
her condition.  
  
CLOSE ON - DOE  
  
He nods in an understanding way as the   
female doctor leaves the room.  
  
CUT TO:  
  
INT. MORGUE - NIGHT  
  
We see several bodies laid out around a sterilized room.   
We are inside some undisclosed Federal building, a couple   
of medical examiners meticulously look at a particular   
body, which is stripped and covered around the groin area.   
The dead bodies are of the Phoenix group members who   
committed mass suicide earlier in the day.  
  
Sam walks into the room, wearing medical scrubs over his   
white shirt and tie. He looks like a man on a mission,   
looking for any clue that may have been left behind. The   
examiners are carefully taking hair and dirt samples. They   
are cautiously checking under fingernails, inside mouth   
cavities, and every orifice on each of the dead bodies.   
Then one of the examiners gestures to Sam, who immediately   
takes notice.  
  
SAM  
(approaching the   
examiner)  
What do we got?  
  
MEDICAL EXAMINER  
Some type of marking, sir.  
  
(Close on the examiner's hands) He is pointing to a symbol   
tattooed to the back of the head of the dead body, its   
about the size of a nickel. His hands keep the hair parted   
as the tattoo is beneath the hair, barely visible. Sam   
struggles to look, then grabs a small flashlight and a   
magnifying glass.  
  
SAM  
Is definitely man made, not a scar.  
  
MEDICAL EXAMINER  
We found a similar marking in the   
same area of every body we've   
examined so far.  
  
SAM  
Lets clear the hair off of it. Take   
some pictures.  
  
Sam proceeds to head out of the morgue. Through a swinging   
metal door.  
  
INT. EVIDENCE LAB - NIGHT  
  
We see Sam open the door and walk into a room where 6   
agents in white lab coats are examining fiber and hair   
samples gathered from the bodies next door. Sam removes   
his scrubs coveralls and proceeds to take a seat at a desk   
across the room. He opens a yellow folder he's been   
holding. Inside, Sam takes out freshly developed crime   
scene pictures, which show the body of the dead state   
trooper shot by the side of the road. Other pictures in   
the pile show the trooper's police cruiser parked at a rest   
stop. Obviously where Trenchcoat man and Digger left it.   
  
CLOSE ON - SAM  
  
A determined look on his face as he stares down at the pictures.   
He sits back and glances to his right.  
  
(We pull back) To see what Sam's is staring at. He is   
staring at what seems like his own personal bulletin board.   
On it there are several pictures, illustrating surveillance   
pictures, of Yellow Teeth, Trenchcoat man, Stocking Cap.   
We move down the small board and hold on a picture of John   
Doe. Its one of the many missing posters that Doe has been   
posting and sending to police agencies all over the United   
states.  
  
FADE OUT.  
  
ACT TWO.  
  
FADE IN:  
  
INT. HOSPITAL CORRIDOR - DAY  
  
Its morning. We see Doe walking down the corridor, passing   
several patient room doors. He stops in front of a   
particular one. The room where he was told Theresa was   
transferred to. Doe is holding flowers and a bag of   
personal items for Theresa. He hesitates for a few seconds   
before finally opening the door.  
  
INT. THERESA'S HOSPITAL ROOM - DAY  
  
Doe peeks his head inside slowly. He immediately takes   
notice of Theresa sleeping in her bed. She is perfectly   
still, tubes feeding her oxygen, sensors record her vital   
signs, and an intravenous solution is by her side. With a   
worried face, Doe places the flowers on a table next to her   
bed and the bag of personal gifts on a chair beside the   
table. Doe examines the monitors recording her vital   
signs, making sure that nothing has been left undone.  
  
Doe looks tired, he has been up all night. He walks   
towards the window, looking out to the world outside.   
  
CLOSE ON - DOE  
  
His face radiates a million thoughts racing   
through his mind. Then there is a faint knock on the door,   
Doe turns and sees Frank standing by the open door.  
  
CUT TO:  
  
INT. HOSPITAL CORRIDOR - DAY  
  
Doe comes out of Theresa's room, Frank is waiting with two   
uniformed officers standing nearby.  
  
FRANK  
(gesturing to the   
officers)  
John....this is sergeant Crossly and   
officer Swans. They're going to be   
guarding Theresa for the time being.  
  
JOHN DOE  
(to the officers)  
Hey....,Frank can I talk to you?  
  
Frank and Doe head down the corridor while the officers   
stand guard by the room door.  
  
JOHN DOE (CONT'D)  
Frank, I don't want to seem   
unappreciative...but how well do you   
know those two.  
  
FRANK  
John,...Relax....Crossly and Swans   
are friends of mine. We play   
softball together OK?  
  
JOHN DOE  
Fine....Its just that...  
  
FRANK  
Hey, I know. And believe me, I know   
how important she is to you, but you   
have to trust us on this. You can't   
do this to yourself. You heard the   
doc, she's going to be resting for a   
few days. I got them so you could   
go home, get yourself together.  
  
JOHN DOE  
I can't do that....not now.  
  
FRANK  
John....  
  
JOHN DOE  
(stopping within   
site of Theresa's   
room)  
Frank. I can't leave her. After   
all that's happened, after all my   
searches, all my disappointments,   
she is the only link I have to my   
past. It all comes back to her.   
The Phoenix group knows that.  
  
FRANK  
Yeah, but they're still human John.   
I don't care who they are or how   
secretive they can be. You have to   
trust me on this. She's going to be   
all right.  
  
Frank's remark makes Doe a little uneasy. A friend's trust   
is something he's having trouble giving after recent   
events.  
  
FRANK (CONT'D)  
Now, what do you say you let me   
drive you home. You can get some   
rest, take a shower, clean yourself   
up for when she wakes up.   
Meanwhile, Avery is going to drop by   
later and check up on Theresa.   
How's that sound?  
  
Doe thinks on it for a few seconds, then nods in agreement.  
  
CUT TO:  
  
EXT. HIGHWAY - DAY  
  
Frank's unmarked police cruiser heads down the highway.   
Frank and Doe are inside.  
  
INT. FRANK'S CAR - DAY  
  
Doe has his head tilted back against the headrest. His   
eyes are closed, but he is not sleeping.   
  
FRANK  
So that's the famous Theresa. She's   
a very pretty girl Doe. At least we   
were able to save her. That's one   
good thing that came out of all this   
fiasco.  
  
JOHN DOE  
I want to thank you for everything   
you and Avery are doing for me. It   
means a lot.  
  
FRANK  
Hey, what a friends for, right?  
  
Doe is in a real thinking mood now, he stares straight   
ahead, his mind is racing.  
  
JOHN DOE  
You are my friend aren't you Frank?  
  
FRANK  
And what's that supposed to mean?  
  
JOHN DOE  
Well, because being that you are my   
friend, studies show that friendship   
rises out of mutual history. But if   
you think about it, we haven't had   
that long of a history together.  
  
FRANK  
(puzzled)  
Its all this leading somewhere?  
  
JOHN DOE  
What I'm saying is, that when it   
comes down to it. You really don't   
know anything about me.  
  
FRANK  
Well, last time I checked, you don't   
know anything about you.  
  
JOHN DOE  
How do you know that? Why would you   
believe me?  
  
FRANK  
Because, I just do all right? Look   
John, I'm not the type of guy to   
hand out my friendship to just   
anybody. And you and I have been   
through enough together that proves   
to me that you're a person worthy of   
my trust. And the same goes for   
Avery. I thought you'd figured that   
out by now.  
  
JOHN DOE  
Yeah,...Yeah I know.  
  
Doe wipes his eyebrow in deep thought as Frank glances   
momentarily at him with a puzzled look.  
  
CUT TO:  
  
EXT. THE SEA BAR LOT - DAY  
  
Frank's car pulls up near "The Sea Bar" lot, above it is   
Doe's place.  
  
INT. FRANK'S CAR - DAY  
  
Doe is staring straight ahead at The Sea Bar sign. Again   
Doe seems distant.  
  
FRANK  
Hey man, You Ok?..Maybe I should   
come up with you. You think you're   
fan club might be waiting for you   
there?  
  
JOHN DOE  
(still staring   
ahead)  
Strange way to put it.  
  
FRANK  
Doe, you're going off again.  
  
JOHN DOE  
Frank, there's something I   
didn't....I need you to come with   
me.  
  
CUT TO:  
  
INT. THE SEA BAR - DAY  
  
Front doors swing open, Doe walks in with Frank following   
behind. The bar has just opened for business, a couple of   
waitresses are setting the tables and Willy (early 30's) is   
the bartender on duty today setting up the bar. He notices   
Doe and Frank entering the bar. Willy recognizes Doe,   
mostly because he is been working at the bar with Digger   
ever since the place opened and Doe began hanging around   
the bar not long after. Doe is looking around the bar   
carefully as if looking for somebody in particular. Frank   
is not sure why they are there in the first place.  
  
FRANK  
John don't you think is a little   
early for a drink.  
  
WILLY  
(from behind the   
bar)  
Morning Mr. Doe, you looking for   
Digger?  
  
Doe stares at Willy for moment without answering, as he   
carries empty beer boxes from behind the bar area toward   
the front where Doe and Frank are now standing.  
  
WILLY (CONT'D)  
(to Doe)  
He is not here today. Is there   
something I can help you with?  
  
JOHN DOE  
(with an intense   
look)  
Are you all part of this?  
  
WILLY  
I'm sorry?  
  
Doe suddenly lunges at Willy, grabbing him by the collar.  
  
JOHN DOE  
(screaming)  
DID YOU ALL PLANNED THIS FROM THE   
BEGINNING!!!?  
  
Frank immediately gets his hands between Doe and his victim   
trying to pull them apart.  
  
FRANK  
(finally pulling   
Doe away)  
JOHN!!! You gone crazy man?  
  
WILLY  
(backing away from   
Doe)  
Hey!!, what the hell is you're   
problem?  
  
The two waitresses cleaning the tables have stopped working   
and are now staring at the commotion going on, confusion on   
their faces. Frank has one hand on Does chest, keeping him   
back.  
  
FRANK  
(to Willy)  
Sorry, man, the guy's had a rough   
night, know what I mean?  
  
JOHN DOE  
(to Willy)  
Where's Digger? WHERE'S YOUR   
BOSS?!!  
  
WILLY  
I already told you, he's not here   
today.  
  
JOHN DOE  
(not satisfied)  
Where is he? Where does he live?!!  
  
FRANK  
John, what.....!?  
  
Doe tries to shove Frank away, not paying attention to him,   
so Willy can see him better, but Frank does not budge too   
much.  
  
JOHN DOE  
(to Willy)  
Where does he live?, How long have   
you known him? Answer me or so help   
me....  
  
WILLY  
Look, I'm not sure what's you're   
beef with him, but maybe you ought   
to wait till he gets back?  
  
JOHN DOE  
Back? Back from where?  
  
WILLY  
I don't know!!! He left me a   
message, told me to open up today,   
said he had some things to take care   
of.  
  
JOHN DOE  
(moving towards   
Willy again)  
YOU'RE LYING!!!  
  
Frank is right there again to push Doe back. He holds Doe   
still while he calms him down.  
  
FRANK  
(in Doe's face)  
Now you listen to me. I've been   
giving you some slack today because   
of all the crap you've been through   
in the last 24 hours, but now you've   
stepped over the line. You've   
become hostile and almost incited an   
altercation without provocation.   
Now that's assault and disturbing   
the peace. You get me?  
  
Doe realizes his mistake and nods in agreement.  
  
FRANK (CONT'D)  
So no more secrets. You and I are   
going to take a walk.... And have   
ourselves a little one on one.   
Savy?  
  
Doe gives Willy a glance as he slowly walks towards the   
front doors.  
  
FRANK (CONT'D)  
Its all right guys, he's just a   
little bit under the weather? Sorry   
to for the disturbance.  
  
Willy just stands there, dumfounded as Frank walks out of   
the bar's front doors. The two waitresses are also   
standing by the tables, not understanding what's going on.  
  
CUT TO:  
  
EXT. WATERFRONT PARK - DAY  
  
Doe has his hands resting on the arm rails looking out to   
the waterfront. Frank walks up behind him. The Sea Bar   
can be seen in the background.  
  
FRANK  
You know, there's a lot things about   
you that I've learned to live with.   
Your encyclopedia brain, your   
screwed up memory and even your   
silly taste in clothes. But using   
me like that, and trying to muscle   
someone, is something that I didn't   
expect from you.  
  
Doe tilts his head down, between his hands.  
  
JOHN DOE  
I'm sorry....  
  
FRANK  
No, no, we're passed that John. Now   
I think its time you came clean with   
me. No more secrets.  
  
Upon hearing this, Doe slowly raises his head, turns away   
from the arm rails and slowly walks past Frank, who is   
standing with his hands resting on his hips, waiting for an   
answer. Doe walks to a nearby bench and takes a seat.   
Frank turns to face him, and walks closer, waiting for Doe   
to speak.  
  
JOHN DOE  
I saw him.  
  
FRANK  
Saw who?  
  
Doe reaches inside his jacket pocket, pulling out the   
stocking cap. He tosses it to Frank. Frank catches it   
right away, and examines it, but still he's not sure what   
Doe is trying to say.  
  
JOHN DOE  
Stocking Cap, I saw his face.  
  
FRANK  
(holding out the   
cap in his hand)  
You mean, this is...... And You saw   
his face?  
  
JOHN DOE  
I was there. When I found Theresa,   
he was trying to....I don't know, I   
pulled her away from him. He went   
up the escape latter, I saw him   
looking down....  
  
FRANK  
(with a serious   
look on his face)  
Who did you see John?  
  
JOHN DOE  
(looking straight   
at Frank)  
Digger.  
  
FRANK  
DIGGER!!!...Bartender   
Digger!!...Pony Tail Digger!!...You   
mean to tell me he's been the guy   
behind all this cloak and dagger, X   
files conspiracy.  
  
JOHN DOE  
(standing up and   
pacing back and   
forth)  
YES...  
  
FRANK  
How the hell do you explain that?  
  
JOHN DOE  
I've been trying to figure that out.  
  
FRANK  
Are you sure that's who you saw? I   
mean you are color blind.  
  
JOHN DOE  
Its was HIM!!  
  
Frank takes a moment to ponder what Doe is saying.  
  
FRANK  
Karen's killer. All this time.  
  
JOHN DOE  
Yeah. He was manipulating me from   
day one. Watching me from behind   
the scenes. Like some sort of   
project.  
  
FRANK  
How do you mean?  
  
JOHN DOE  
I waltzed into his bar right on que,   
he gave me a reason to be there, then   
he saw to it that I was always   
within his reach. A little too   
convenient now that I think about   
it. A part time job playing piano,   
a convenient apartment just feet   
away and a friendly face to go with   
it. Its almost, like he knew what I   
needed.  
  
FRANK  
But how did he know you would walk   
into his bar, play his piano, take   
all his offerings?  
  
JOHN DOE  
Because he knows ME!! That's the   
only explanation....he was waiting   
for me that day, He knew I would   
come....  
  
It all becomes too much for Doe to take, his eyes water   
from the feeling of helplessness.....  
  
JOHN DOE (CONT'D)  
(screaming)  
HE ALWAYS KNEW!!! BASTARD!!!!  
  
Doe falls to his knees and crouches on the floor in   
despair. Frank understands and tries to comfort him.  
  
FRANK  
(placing his hand   
on Doe's shoulder)  
Hey....Hey partner..I'm not even   
going to try to imagine what you're   
feeling right now. This is all   
pretty hard to swallow, even for me.   
But you have to trust me, we have to   
go through this by the book.  
  
Doe looks up at Frank.  
  
FRANK (CONT'D)  
We'll find them....You got to   
believe that.  
  
CUT TO:  
  
INT. THE SEA BAR - DAY  
  
The Sea Bar is closed to the public, only police officers   
are seen inside. They are conducting interviews with each   
of the employees of the establishment. Willy, the 2   
waitresses and other staff are all present. Some being   
questioned, others waiting to be questioned. We follow   
through the crowd. Doe is on one of the bar stools,   
looking at Digger's memorabilia he kept behind the bar.   
  
In his hands, Doe holds an old picture of Digger and Jay   
Dougan (from "Remote Control" episode), the same picture   
that gave Doe a glimpse into what he thought was an   
important part of Digger's past. Doe stares at the picture   
of the two, wondering if any of it was true, or just   
another piece in the charade. Just then, Lt. Avery walks   
into the bar, looks around as she heads to where Doe is   
sitting.  
  
LT. AVERY  
(to Doe)  
Just came from the Hospital.   
Theresa is still resting, and I   
spoke with her doctor, looks like   
she's going to be ok. How you   
holding up?  
  
Doe puts the picture down on the bar. He seems to be even   
more tired and emotionally drained.  
  
JOHN DOE  
More dead ends.  
  
LT. AVERY  
Frank just told me what happened.   
I'm not going to ask you if you're   
about this.  
  
JOHN DOE  
(with a hand over   
his forehead,   
trying to stay   
focused)  
Don't.  
  
Frank walks up from behind Avery.  
  
FRANK  
All right, this is what we got so   
far. Apparently Digger was not   
close friends with any of his   
employees. None of them has any   
idea where Digger lived, nor what   
his real name was. Did a check on   
the lease of this place, looks like   
it was a bankrupted sushi bar until   
six months ago. Then it was bought   
by Douglas Industries and turned   
into the Sea Bar. We're still   
trying to contact someone from this   
company, so far all we have is an   
endless trail of disconnected phone   
numbers.  
  
LT. AVERY  
Yeah, a lot of that going around   
lately.  
  
Doe slams his fist on the bar.  
  
JOHN DOE  
This is a complete waste of time.   
We'll never find them this way.  
  
FRANK  
(to Doe)  
Well, what did you expect? I mean   
from what I've found, you were the   
only person he ever got remotely   
close to. And he never talked to   
you about his private life?  
  
JOHN DOE  
NO!. I told you, all he talked   
about was his failed marriages and   
secret military career. Nothing   
specific. Just comments really.  
  
LT. AVERY  
And you never saw where he went when   
he left the bar. You saw each other   
outside this bar, didn't you?  
  
JOHN DOE  
(leaning against   
the bar)  
Yeah, but we always ended up here,   
nowhere else.  
  
Just then, Doe's eyes widen, as if realizing something that   
was obvious all along. Frank and Avery glance at each   
other, as if waiting for the punch line.  
  
JOHN DOE (CONT'D)  
(looking around the   
bar)  
Here....He was always here.  
  
LT. AVERY  
Are you saying he lived here?  
  
JOHN DOE  
Why not? I'm willing to believe   
anything at this point.  
  
Doe walks away from the bar area. And gestures to Willy,   
who is sitting in a nearby table.  
  
JOHN DOE (CONT'D)  
(to Willy)  
WILLY!  
  
WILLY  
(jumping in his   
seat)  
What!  
  
JOHN DOE  
Where's Digger's office?  
  
INT. BAR MANAGER'S OFFICE - DAY  
  
Doe walks inside the office, followed by Frank, Avery and   
Willy. He shuffles papers from the desk, and moves stuff   
about. Looking behind shelves, feeling behind around the   
walls.  
  
FRANK  
John. I already got people looking   
through all the paperwork.  
  
Doe is back to his quick thinking self, moving quickly and   
deducing from clues. He is moving cabinets and chairs   
around. The manager's office also served as storage space.  
  
JOHN DOE  
No, no, no, He lived here and no one   
knew about it. There's got be some   
type of hidden.....  
  
Suddenly he feels something behind a file cabinet. Doe   
moves his hands around the surface, looking it over, then   
gently pushes it away towards the rest of the group. The   
cabinet moves easily from its usual place, revealing an   
opening on the wall behind it. The others are   
understandably dumfounded. The opening looks to be without   
a door. Doe looks back at the others, before stepping   
inside.  
  
INT. HIDDEN ROOM - DAY  
  
The room is dark, inside walls are made of concrete. He   
looks around and lets his eyes adjust for a bit.  
  
JOHN DOE (B/W POV)  
  
---Dark room, light can be seen at the otheer end.  
  
Doe walks slowly towards the end of the hidden room. Frank   
and Avery walk in behind him.  
  
FRANK  
Don't touch anything John. Lets get   
the lab unit in here. Dust for   
prints.  
  
Doe continues on toward the lighted part of the room. At   
the same time, Avery finds a set of switches, she flips   
them on and the room lights up. Doe's eyes adjust quickly   
as he finally sees what had caught his eye. We see a   
number of video monitors, recording equipment, recording   
media, tons of pictures on the wall to the left. Pictures   
of John, in his apartment, on the street, driving his car,   
and doing many other everyday activities. The monitors are   
off at the moment, except for one, which is showing an   
angled view of what looks to be an apartment. Doe is   
completely taken aback by this, Frank and Avery join him.  
  
AVERY  
Just when I thought this couldn't   
get any weirder.  
  
JOHN DOE  
He kept surveillance on me.  
  
FRANK  
(examining the   
photos on the wall)  
Looks like he kept an eye on you 24-  
7.  
  
Doe grabs a set of latex gloves from Frank's jacket pocket,   
puts them on and switches on all ot the remaining video   
monitors. Each video monitor reveals different images.   
Images of every room in Doe's apartment along with images   
of the Sea Bar interior.  
  
JOHN DOE  
(looking at dozens   
of catalogued   
digital tapes on   
shelves)  
He recorded everything. Why? What   
the hell was he expecting me to do?  
  
FRANK  
Our man Digger was definitely not   
who he seemed to be.  
  
AVERY  
(flipping through a   
book)  
This are print out of phone   
conversations. He had your phone   
bugged, even your cell.  
  
Doe looks at some of the photos posted on the wall. Among   
them, he notices pictures of Theresa and Michael. It shows   
Theresa coming out of her house, getting into her car and   
doing other things. Michael's pictures show him in   
hospital gowns during test sessions, with all kinds of men   
in white coats around him, the doctor's faces are not   
shown.  
  
JOHN DOE  
Michael. They used him, Digger   
arranged it so that he and I would   
meet in that hospital. Why did I   
see him in color?  
(whispering to   
himself)  
I'm sorry.  
  
AVERY  
(to Doe)  
John. Why don't you let us handle   
this, we'll need to dust for prints   
and look at all the surveillance on   
this building. You should also stay   
in a hotel tonight since we'll need   
to look in your apartment too. So   
get some rest ok? Get cleaned up.   
We'll let you know what we find.   
All right?  
  
Avery gestures to Frank, who immediately guides Doe towards   
the exit. Doe doesn't say anything as he leaves. Avery   
watches them leave, a look of extreme concern for her   
friend in her face. (Close on Avery's face).  
  
FADE OUT.  
  
ACT THREE.  
  
FADE IN:  
  
INT. HOTEL ROOM BATHROOM - NIGHT  
  
We move in through a half open door, the mirror is fogged   
up with steam as we slowly close on a silhouette behind a   
shower curtain. As we close in, we see that its Doe, he   
has both hands over his face as he lets the water hits his   
face. He moves his head up and under the flow of the   
shower, letting the water massage his neck and face. He   
looks completely exhausted, clearly dealing with a mild   
case of insomnia. Suddenly Doe's head tilts back as if   
jolted by something. Doe struggles to keep his balance as   
he manages to get out of the shower.  
  
JOHN DOE (INT POV)   
  
---A sudden flash of Theresa and Michael unnder duress.   
Both struggling under their captors control.  
  
INT. HOTEL ROOM - NIGHT  
  
Doe struggling out of the bathroom. He is trying to   
understand what he just saw. He hasn't had time to grab a   
towel. He has one hand on his forehead, as if experiencing   
a headache. Doe struggles to find his cell phone, then his   
head jolts back again.  
  
JOHN DOE (INT POV)  
  
---Rapid flashes of Theresa, Michael, The PPhoenix Staff,   
The Vatican Dome. And finally Digger's face.  
  
Doe stops in front of the mirror. Looking straight at his   
own reflection.  
  
JOHN DOE  
No... What do you want from me?   
Huh?...You Son of a bitch!  
  
Doe kicks over his night bag from the stand. He quickly   
grabs his cell phone and dials out.  
  
JOHN DOE (CONT'D)  
Frank!... Did you call   
your men at the hospital?  
  
INT. FRANK'S CAR - NIGHT  
  
Frank is driving.  
  
FRANK  
Just talk to them. They're running   
some more tests on her.  
  
JOHN DOE (PHONE)  
How long ago?  
  
FRANK  
About 5 minutes? You ok? Did you   
get some rest?  
  
JOHN DOE (PHONE)  
Call them again. I'm heading to the   
coroner's office.  
  
FRANK  
What? John, we're still...  
  
Doe hangs up.  
  
FRANK (CONT'D)  
(sarcastically)  
Yeah, no problem.  
  
CUT TO:  
  
INT. CORONER'S OFFICE MORGUE - NIGHT  
  
An orderly (late 20's) opens a set of double doors. Doe   
follows him inside. The orderly is holding a clipboard   
looking for the correct entry printed on it.  
  
ORDERLY  
(looking at the   
clipboard)  
Let's see....he was brought in   
around 3 o'clock...Ah yes, here we   
go.  
  
The orderly puts the clipboard down and opens one of the   
body freezer doors, he goes about it as he's done it a   
million times before. Doe, stands silent in the   
background, waiting for the orderly to finish. Doe moves   
forward as the orderly pulls back the small cover sheet on   
Michael's body.  
  
ORDERLY (CONT'D)  
(smiling at Doe)  
Got to tell you Mr. Doe, couple of   
my colleagues and I have been   
following your work with the Seattle   
police the last few months. I must   
say its an honor.  
  
Doe doesn't even look at the orderly, let alone hear his   
comment, he just stares at Michael whose's lying there   
motionless, clean and pale.  
  
JOHN DOE  
I'd like a few minutes alone with   
him, if I you don't mind.  
  
ORDERLY  
(awkwardly)  
Yeah...Sure.  
  
The orderly steps out of the room, leaving Doe alone with   
Michael's body. Doe looks very emotional about the whole   
situation. He looks at Michael face, Doe sees him finally   
at peace, bringing him a sense of relief.  
  
JOHN DOE  
(looking at   
Michael's face)  
You know...I thought that whenever I   
saw someone in color, it meant that   
that person knew me from before or   
was connected to me somehow.  
  
JOHN DOE (B/W POV)  
  
---Michael's face in color, everything elsee around him in   
black and white.  
  
JOHN DOE (CONT'D)  
But now I'm starting to believe it   
has little to do with me, but more   
about that person. That maybe they   
need me, or are in some kind of   
need. Maybe I've been looking at   
this all wrong. I've been so   
obsessed with my identity that it   
has cost the lives of two innocent   
people that have tried to help me.   
How many more have to die before I   
can let this go?  
  
Doe's eyes water as he continues his confession.  
  
JOHN DOE (CONT'D)  
I'm sorry I didn't help you like I   
should have. I should have taken   
you out of that hospital and kept   
going. You didn't deserve   
this....I'm not sure what this   
people are after, or what they want   
from me, but I'm going to make them   
pay for this. For you and Karen, I   
promise.  
  
CLOSE ON - DOE  
  
CUT TO:  
  
EXT. CITY LANDSCAPE - NIGHT  
  
Skyscrapers light up the night as a black helicopter makes   
his way over an undisclosed city rooftops. Lights flash on   
and off as beacons from buildings and towers pass by the   
helicopter as it flies to its destination. As the   
helicopter closes on a particular building rooftop, we see   
a lit landing platform in the distance. The helicopter   
slows down and comes in for a smooth landing on the waiting   
platform.   
  
As the helicopter settles in and begins to shut its   
engines, we see its side doors open. Two figures wearing   
long coats step out of the helicopter and make their way   
towards the rooftop entrance and step inside. The   
helicopter is left in the background, the pilot inside is   
shutting down its engines.  
  
INT. BUILDING - NIGHT  
  
We see an interior staircase leading down from the rooftop,   
the two dark figures walk down the staircase and open the   
door. These figures are unknown, the faces are not shown,   
we only see them from a top angle or from behind, just   
before we think their faces will be shown, we switch to   
another angle. The two figures walk down a corridor where   
an elevator door awaits them. The taller figure pushes the   
elevator button and a few seconds later the elevator double   
doors open.  
  
The two figures walk inside. As the doors close, the   
taller figure takes out a special key and opens a panel   
just bellow the floor buttons of the elevator. Inside this   
locked portion of the elevator we see a series of buttons,   
on each button there is a strange symbol, instead of   
numbers. The taller figure punches the buttons in a   
particular order giving some type of 8 digit code. At that   
moment a "B4" displays on the screen that tells you what   
floor your on. The elevator begins to descend, down and   
down past all the floors into the lowest floor of the   
building. This floor is a secret part of this building,   
only a select few can access it.  
  
INT. "B4" FLOOR - NIGHT  
  
A pair of elevator doors can be seen down a long dark   
corridor. The display atop of the elevator doors lights   
up, at that same moment, a chain of lights along the   
corridor come to life, lighting the entire corridor. We   
see that there are no doors along the bare concrete walls   
of the corridor leading to the elevator. The elevator   
doors open, immediately we see the two figures inside. It   
is none other than Digger and Trenchcoat man. Digger is   
clean shaven and has cut his hair shorter than the last   
time we saw him. Digger's hair is darker and is brushed   
back. Trenchcoat man's hair is a little shorter but still   
looks the same, they both have long coats, with a suit and   
a tie underneath.  
  
We see both of them head out of the elevator down the long   
corridor. The angle of view switches to reveal what they   
are walking to. Its a set of double wooden doors, a design   
of the globe is edged upon the doors. On top of the globe   
a bird is perched. A red bird.  
  
We see the two men walk upon the door. Trenchcoat man   
looks at Digger who nods to him. Trenchcoat man opens the   
double doors and both men walk in.  
  
INT. SECRET CONFERENCE ROOM - NIGHT  
  
The double doors close behind them as Digger and Trenchcoat   
man stand at the foot of a long table. The room is   
surrounded by 4 concrete walls, each wall with a door and   
adorned with old turn of the century paintings. The   
paintings show images of many civilizations in history,   
images of the Romans, Egyptians, Colonial America, Turkish   
and African depictions. The table has 10 empty chairs on   
each side. As both men stand and wait, the door on the   
opposite end opens, two young men in black suits enter,   
followed by an older man (early 60's). The pair of young   
men stand at attention as the older man takes a seat at the   
end of the table.  
  
The older man calmly pours himself a glass of water, then   
he gestures to his young escorts, causing them to   
immediately leave the room. As the men leave, Digger takes   
his coat off and takes a seat not too far from the head of   
the table. Trenchcoat man stays by the double doors at the   
end of the table. Digger sits at the table, waiting for   
his counterpart to speak. The older man sits calmly at the   
table, reaches for a pen thin size remote control, taps a   
button and one of the paintings pushes back and a digital   
flat screen comes down. The screen comes on and a picture   
of John Doe appears. The older man looks to Digger.  
  
OLD MAN  
Its been 223 days since Thomas   
finally came back to us. Time is   
running out. How certain are you   
about your recent findings?  
  
DIGGER  
I'm certain. Its in the Vatican.   
He revealed it to us.  
  
OLD MAN  
A longer session may have revealed a   
more exact location. The Vatican is   
a vast place, it may take some time   
to find it.  
  
DIGGER  
Our blind prophet has shown us the   
staff's resting place. It is our   
job to find it for him. As it is   
written.  
  
OLD MAN  
What about Theresa?  
  
DIGGER  
She is not important?  
  
OLD MAN  
Thomas would disagree. Then and   
Now. She is a distraction, and she   
should have been eliminated.  
  
DIGGER  
There was no time....She is no   
threat, and if she was, she would   
have been dealt with long ago.  
  
OLD MAN  
It is no coincidence that she and   
Thomas found each other again. I   
believe she is a threat.  
  
DIGGER  
(sarcastically)  
Thomas would disagree.  
  
The old man produces a slight smirk as if remembering a   
similar conversation from the past. Then he gets serious   
again and taps his remote again. An image of the police at   
the Sea Bar appears on the screen.  
  
OLD MAN  
He has pulled back the curtain,   
looking for the little man working   
the levers of the all Mighty OZ.  
  
DIGGER  
(looking at the   
screen)  
He'll find nothing but more   
questions. It was to be expected   
sooner or later. Sadina's plan   
failed on the same premise. We   
tried to earn his trust.  
  
OLD MAN  
You think we were wrong in doing so?  
  
DIGGER  
In my time with him this past few   
months, I've come to believe that he   
is not the same man he was. His   
transformation has changed him in   
such a way that would make it   
difficult for us to earn his trust.   
Even if we had told him the truth,   
it would have backfired still.  
  
OLD MAN  
Then maybe we should take him into   
custody until the time comes.  
  
DIGGER  
We know better than that. The   
prophecy states that the staff will   
call to him. When we find the   
staff, he will come to us. That was   
the plan from the start. Therefore   
we must concentrate on finding the   
staff.  
  
The old man takes a moment to ponder Digger's statement.  
  
DIGGER (CONT'D)  
We have analyzed every possible   
scenario, no harm will come to John,   
I promise you.  
  
OLD MAN  
(looking at the   
screen)  
John Doe....How fitting.....If he   
only knew how important he   
is,.....How far we've come.  
  
DIGGER  
He will find out eventually. As the   
time grows near, he will realize his   
purpose.  
  
OLD MAN  
(intently looking   
at Digger)  
His PURPOSE is merely to guide us   
into the next thousand years. We   
cannot let this opportunity slip   
away. The staff must be in our   
possession when the time comes. You   
cannot be wrong about this.  
  
DIGGER  
It is there, and we will find it.  
  
OLD MAN  
We better. You know too well the   
price of failure.  
  
Digger stares at the old man getting up from his chair.   
Digger follows suit by standing up out of respect for his   
superior.  
  
OLD MAN (CONT'D)  
There are 143 days   
remaining.....Find it.  
  
Digger bows his head slightly as does Trenchcoat man.   
Digger grabs his coat and proceeds to walk out in the same   
direction he came in. Trenchcoat man opens the double   
doors to leave. At the same time, the two young man enter   
the room as the old man proceeds to leave, but before doing   
so he turns towards Digger.  
  
OLD MAN (CONT'D)  
SAMUEL!!...  
  
Digger stops just before stepping out of the room and looks   
back at the old man. Trenchcoat man waits outside the   
room.  
  
OLD MAN (CONT'D)  
(slightly smiling)  
It is good to see you again.  
  
Samuel stares at him with a smile.   
  
SAMUEL  
(in sign language)  
The EYE always sees....LUCIAN.  
  
Samuel turns and leaves through the double doors. Lucian   
continues smiling slightly as he steps out of the door on   
his end. We are left inside the room, as both sets of   
doors close. We slowly pan from the double doors with the   
globe symbol, along the wall pass the paintings and come to   
rest on the plasma screen Lucian and Samuel were looking at   
before. On the screen we see a picture of Doe, but the   
picture is different, he looks younger, with shorter hair,   
wearing a white shirt and tie. Then we slowly pan down   
from the big plasma screen, revealing a glass display case   
on a table against the wall. In it, there is an ancient   
looking piece of paper, worn by time, brown in color and   
vacuum sealed inside the glass. Printed on it, we can see   
from the top of the page, a carefully written paragraph, it   
is some sort of ancient looking language. A lot of strange   
looking symbols, resembling letters but not quite. We   
slowly move down the paragraph of the ancient scroll,   
toward the end of the piece of writing. Suddenly, we see a   
familiar symbol inscribed squarely at the bottom of the   
page......It is the SYMBOL OF JOHN DOE.   
  
FADE OUT.  
  
ACT FOUR.  
  
FADE IN:  
  
INT. HOSPITAL WAITING ROOM - NIGHT  
  
Doe walks through the hospital entrance holding a couple of   
bags and proceeds to the front desk. As he is signing in,   
Lt. Avery comes out of one of the elevators and takes   
notice of him.  
  
LT. AVERY  
There you are. Frank missed you at   
the coroner's office. Don't you   
answer your phone anymore?  
  
JOHN DOE  
(grabbing the bag)  
Sorry...I lost track of time.  
  
LT. AVERY  
I told Frank you probably needed   
some time alone.  
  
JOHN DOE  
Thanks. I just...had to... I've   
claimed Michael's body. I've   
arranged for his burial. Its the   
least I could do.  
  
LT. AVERY  
Good....   
  
Doe lowers his head slightly in grief. Lt. Avery   
understood how Doe must be feeling and decided to casually   
change the subject.  
  
LT. AVERY (CONT'D)  
(smiling)  
Hey, what's in the bags?  
  
JOHN DOE  
Well, I huh,... I just thought   
that she would need some things, you   
know, some basic feminine hygiene   
products. Bath robe, shampoo,   
conditioner, change of clothes.  
  
LT. AVERY  
(glancing inside   
the bags)  
Aren't you the thoughtful one?   
She's a lucky girl having you for a   
boyfriend.  
  
JOHN DOE  
(biting his lip in   
embarrassment)  
Funny.  
  
Doe and Lt. Avery walk along the lobby and head to the   
elevators.  
  
LT. AVERY  
(getting serious)  
John, we found some prints in that   
hidden room at the bar. We're   
running them through the ICC, so far   
nothing.  
  
JOHN DOE  
And my place?  
  
LT. AVERY  
8 small video cameras, located all   
around your apartment. The whole   
place wired.  
  
Doe grimaces in disgust at the thought of his every move   
being watched.  
  
LT. AVERY (CONT'D)  
(placing a hand on   
Doe's arm)  
He fooled all of us John. Not just   
you, and no matter how much you   
know, you could have never seen this   
coming. We all have to trust those   
close to us. Its in our nature.  
  
Doe gives an appreciative look to Lt. Avery.  
  
CUT TO:  
  
INT. HOSPITAL CORRIDOR - NIGHT  
  
The pair of elevator doors open. Doe and Lt. Avery step   
out onto the patient care floor, walking side by side.  
  
LT. AVERY  
Have you thought about what she's   
all about?  
  
JOHN DOE  
Ever day since the ferry.  
  
LT. AVERY  
What are you going to say to her?   
When she's conscious I mean.  
  
JOHN DOE  
The real question is, What she has   
to say to me?  
  
Lt. Avery looks at Doe with a concerned face.  
  
LT. AVERY  
(searching the   
right words)  
John. Have you thought....about the   
possibility that she... might be one   
of them?  
  
Doe slows his pace and stops. He looks at Lt. Avery.  
  
JOHN DOE  
I know what you're saying Jamie.   
But I think that she is my only   
chance. I have to take it. I have   
to know.  
  
LT. AVERY  
Fair enough. Personally, I think   
she's the real thing. Call it a   
hunch.  
  
Lt. Avery looks down the corridor, to where the two   
officers stand guard.  
  
LT. AVERY (CONT'D)  
(looking back at   
Doe)  
You know, she's been asking for you.   
She's still pretty groggy, but the   
nurses say she keeps calling to   
Tommy. If that's really you.  
  
JOHN DOE  
We'll see.  
  
LT. AVERY  
I better get going. I'm neglecting   
my turtle. I'll check with you   
later.  
  
Lt. Avery starts to walk away.  
  
JOHN DOE  
Jamie...  
  
Lt. Avery stops and turns to Doe.  
  
JOHN DOE (CONT'D)  
You have my trust.  
  
To this Lt. Avery gives out a smile.  
  
LT. AVERY  
Good luck, Romeo.  
  
Doe smiles at his friend's pun. Lt. Avery gets in the   
elevator and leaves.  
  
CUT TO:  
  
EXT. AIRPORT HANGAR - NIGHT  
  
Flashing lights in the distance get closer and closer,   
until we see and hear the helicopter engine fly in above   
the lit airport tarmacs. The black helicopter does a fly   
over before settling in and landing on a designated area   
near an open hangar. Inside the hangar we see a private   
jet with its engines running and an open hatch.  
  
The helicopter slows its engines and its doors open.   
Samuel and Trenchcoat man step out and commandingly walk   
across the runway towards the awaiting jet inside the   
hangar. The pair head to an awaiting man (late 20's)   
holding a large sealed envelope. The young man gestures a   
greeting to his superiors in sign language, before handing   
the envelope to Samuel. The three men waste no time and   
immediately board the aircraft. The hatch closes right   
away and we hear the jets engines roar louder as the jet   
begins to taxi onto the runway.  
  
INT. PRIVATE JET - NIGHT  
  
We see the young man sitting working on his portable   
computer. Trenchcoat man walks up from the front cabin   
towards Samuel, who has finished reading the report handed   
to him by the other group member. Samuel places the report   
on the table as Trenchcoat man sets on the nearby seat   
facing him. Samuel looks at his companion.  
  
SAMUEL  
(in sign language)  
The NSA is using all its resources   
to track our movements.  
  
TRENCHCOAT MAN  
(in sign language)  
All they have are theories. Let   
them try.  
  
SAMUEL  
(in sign language)  
They got too close last time.  
  
TRENCHCOAT MAN  
(in sign language)  
They had help. It won't happen   
again.  
  
SAMUEL  
(in sign language)  
Don't be so sure. John helped them   
once. He may do it again. They may   
obligate him.  
  
TRENCHCOAT MAN  
(in sign language)  
The NSA is bound by laws. Even with   
his help, we'll always be one step   
ahead of them.  
  
SAMUEL  
(in sign language)  
Inform our people in Seattle. We   
need daily reports on his movements.   
If he begins working with the NSA, I   
want to know immediately.  
  
TRENCHCOAT MAN  
(in sign language)  
What about the woman? I think   
Management is right. She should be   
dealt with immediately. She's a   
loose end.  
  
SAMUEL  
(in sign language)  
She's his weakness. Its ironic, to   
think that after everything Thomas   
went through for her, she just fell   
right back into the fold. It   
happened for a reason.  
  
TRENCHCOAT MAN  
(in sign language)  
You're not worried about what she'll   
tell him? She may lead him to us.  
  
SAMUEL  
(in sign language)  
Everything happens for a reason.   
She is just a piece of the puzzle   
and doesn't know enough. She'll   
give John direction and fuel his   
quest. But we'll still be there to   
fulfill his destiny.  
  
Trenchcoat man ponders on his superior's assumption while   
Samuel takes a drink and stares onto the night sky.  
  
EXT. NIGHT SKY - NIGHT  
  
We see the private jet slowly climb through the clouds and   
move on into the distance with its beacons flashing.  
  
CUT TO:  
  
INT. THERESA'S HOSPITAL ROOM - NIGHT  
  
Doe opens the door slowly and steps in the room. The   
lights are dimmed inside as Theresa continues to sleep.   
Doe gently closes the door and puts away the bags of   
personal things he brought for Theresa. She continues to   
sleep as he finds himself staring at her. He walks to the   
other side of the private room and silently pulls up a   
chair. He sits next to her bed. Still staring at the   
mysterious woman he's been searching for for so long.  
  
CLOSE ON - DOE   
  
JOHN DOE (V.O.)  
Theresa... Is that really your name?   
That day on the ferry, you gave me   
hope, when I needed it the most.  
  
We look at Theresa who is sound asleep.  
  
JOHN DOE (V.O.) (CONT'D)  
How did you know me? What am I to   
you? Were we close once? Are we   
related? Oh God, there so many   
questions.  
  
Doe leans back on his chair and runs his hand back through   
his hair in quiet frustration.  
  
JOHN DOE (V.O.) (CONT'D)  
I still can't believe you're here.   
I was beginning to doubt whether you   
were real or not. That maybe I   
created you somehow.  
  
Doe continues to stare at Theresa.  
  
JOHN DOE (V.O.) (CONT'D)  
I feel like I'm so close to the   
truth after craving it so much that   
I'm afraid to see my way ahead. I'm   
I ready for whatever you may or may   
not know about me? Will you help me   
remember...me?  
  
Doe stands up from his chair and walks to the window. He   
stares out into the night.  
  
JOHN DOE (V.O.) (CONT'D)  
There has to be a reason for all of   
this. Why would I see you in color?  
  
JOHN DOE (INT POV)  
  
---Theresa at the ferry, in color, waiving at Doe as she   
yells out the name Tommy.  
  
JOHN DOE (V.O.) (CONT'D)  
Whatever the reason? It cannot be   
just chance. This gift....this   
curse has a purpose. There are   
people out there who believe that.   
People who do not care who gets in   
their way.  
  
Doe places his hand on the window as it begins to rain   
outside. The rain drops are hitting the window glass. Doe   
stares at his hands pondering.  
  
JOHN DOE (INT POV)  
  
---Trenchcoat man in custody at the NSA. SStaring at Doe   
through the glass.  
  
---Digger staring at Doe from the top of thhe copper mine   
shaft.  
  
---Yellow teeth looking at Doe from her deaath bed.  
  
JOHN DOE (V.O.) (CONT'D)  
Could I be one of them? I'm I   
capable of doing the things they've   
done. Could I've prevented the   
innocent from dying on my behalf.   
  
JOHN DOE (INT POV)  
  
---Karen being her joking self around Doe.  
  
---Michael talking to Doe in the hotel roomm.  
  
Doe tilts his head down with his eyes closed. Letting the   
images run through his head. He then raises his head up   
again, an expression of pain in his face.  
  
JOHN DOE (V.O.) (CONT'D)  
Why is this happening to me? Why   
can't I remember? Can anyone truly   
help me?  
  
THERESA (O.S.)  
(faint and softly)  
Tommy.....  
  
Doe turns quickly and looks towards the bed. We see   
Theresa, her eyes half open staring at Doe. He moves   
towards the bed and sits down next to it. Doe gently and a   
bit nervously takes Theresa's right hand, which laid flat   
on the bed and had an I.V. injected to it. Doe holds it   
with both his hands and looks at Theresa. She looks very   
groggy still, and half a sleep, but she is smiling back at   
him.  
  
THERESA (CONT'D)  
(softly)  
Tommy.....its really you.....mmmmm  
  
Theresa's eyes begin to blink slowly but steadily as she   
begins to fall asleep again.   
  
CLOSE ON - DOE  
  
His eyes watered a bit as he smiles slightly. A look of extreme gratitude on   
his face as he stares at the sleeping Theresa. It is as if her few short   
words managed to ease the pain he was feeling before.  
  
THEME SONG ("Like a stone" by Audioslave)  
  
".....in all I read...till the day was gone....and I sat in   
regret....in all the things I've done....for all that I've   
blessed....and all that I've wronged.....in dreams till my   
death....I will wonder on".  
  
Doe looks relieved and grateful as we pull back slowly   
leaving Doe, sitting by Theresa's bed, still holding her   
hand.  
  
THEME SONG ("Like a stone" by Audioslave)  
  
"....I'll wait for you there....like a stone....I'll wait   
for you there....alone....alone".  
  
FADE OUT.  
  
THE END


End file.
